Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Ireland and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Mumbai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Aaron Thompson to the punk kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Frankie Knuckles. All the underground hits.
All Gong tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Cluster,
The Toasters,
Jawbox,
The Dead C,
Curtis Mayfield,
Bob Dylan,
Sandy B,
Marmalade,
The Stooges,
The Doors,
Lafayette Afro Rock Band,
Nirvana,
Isaac Hayes,
Graham Central Station,
Excepter,
Surgeon,
Roxy Music,
Pulsallama,
Oppenheimer Analysis,
Kayak,
The Blackbyrds,
The Remains,
Flamin' Groovies,
Eric Copeland,
Frankie Knuckles,
Magma,
Mantronix,
Soulsonic Force,
Barclay James Harvest,
L. Decosne,
Suicide,
The Angels of Light,
Lonnie Liston Smith,
Bootsy Collins,
Swell Maps,
Sixth Finger,
Visage,
Sällskapet,
Tom Boy,
Deakin,
Throbbing Gristle,
Captain Beefheart & His Magic Band,
Grey Daturas,
Make Up,
Rowland S Howard / Lydia Lunch,
Masters at Work,
Bush Tetras,
Little Man,
The Royal Family And The Poor,
Lizzy Mercier Descloux,
The Offenders,
Piero Umiliani,
Liaisons Dangereuses,
Stockholm Monsters,
Pierre Henry,
Delon & Dalcan,
Blake Baxter,
Ralphi Rosario,
Bill Wells,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.